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4,7 von 5 Sternen

am 23. September 2014
Excellent book, very informative and engaging, highly recommended.
Will Eisner was a true craftsman and a pioneer in his field.
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am 1. April 2009
 The book focuses on the creation of comics and the various techniques one can use. Specifically, it talks about the why the techniques work and the concepts behind. The various lessons touch on timing, framing, composition, expressive anatomy, writing for comics and other application of comics.

Every page of comics included that serve as examples come with captions. They explain the effect to achieve on readers. One example would be to tilt a composition of a moving train to simulate the rocking on the tracks.

How Will Eisner uses his panels and framing is amazing. He can use doorways or windows on a plane as frames, and he can so easily blend his panels together using the environment. Paneling and pacing when done right really just enhances the story. You'll see and understand why it works. It's all explained.

This book will serve as a very good introduction to comic artists. Professionals might learn some new ways of doing things too.

There are more pictures of the book on my blog. Just visit my Amazon profile for the link.
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am 6. Juli 2005
"Comics & Sequential Art" is based on a course Will Eisner taught at New York's School of Visual Art although originally this work was written as a series of essays that appeared randomly in "The Spirit" magazine. Eisner provides a guide book to the "principles & practice of the world's most popular art form, and while it is of interest to those of us who read comic books it is clearly intended to be of use to aspiring comic book artists (and writers, albeit to a lesser degree). One way of measuring the book's success is to note that I have the 24th printing of a work that was first published in 1985 (and expanded in 1990 to include print and computer), but then the fact that the book was written by Eisner and uses dozens of examples of his own art work to evidence his points, as well as drawings down specifically for the book, is enough to tell you this is something special.
There are eight lessons in Professor Eisner's syllabus: (1) Comics as a Form of Reading looks at the interplay of word and image in comic books that has created a cross-breeding of illustration and prose, including the idea of how text can be read as image, which shows the sense of detail Eisner brings to his subject. (2) Imagery begins with the idea of letters as images and develops a notion of how the "pictograph" functions in the modern comic strip as a calligraphic style variation. The key subject here is that of images without words. (3) "Timing" considers the phenomenon of duration and its experience as an integral dimension of sequential art, with Eisner drawing (literally) a distinction between "time" and "timing." This chapter looks at framing speech and framing time, with Eisner making his points in the textual part of the chapter and then providing a series of comic book pages evidencing different features he wants to emphasize. (4) The Frame is a major chapter that examines in detail the sequences segments called panels or frames, with Eisner emphasizing the idea that these frames do not correspond exactly to cinematic frames because they are part of the creative process and not the result of the technology. Eisner examines encapsulation, the panel as a medium of control, creating the panel, the panel as container, the "language" of the panel border, the frame as a narrative device, the frame as a structural support, the panel outline, the emotional function of the frame, the "splash" page, the page as a meta panel, the super-panel as a page, panel composition, the function of perspective, and realism and perspective. This chapter is not half the book, but it is close, and it basically tells you everything you ever wanted to know about a panel in a comic book. When you are taking into account the meaning of the border of the panel, then you know this is a comprehensive examination of the subject under discussion.
The rest of the book deals with what you put in those panels: (5) Expressive Anatomy provides a micro-Dictionary of Gestures before covering your options in drawing the body, the face, and the body and the face. As an extended example Eisner provides his complete "Hamlet on a Rooftop," which does the "To be, or not to be" soliloquy. (6) Writing & Sequential Art talks about the relationship between the writer and the artist (whether they are two separate people or not), and various story telling elements. There are several choice examples on the application of words and the various ways then can add meaning to a series of panels, and practical examples of how writers and artists work together to create comic book stories. (7) Application (The Use of Sequential Art) makes a distinction between the functions of sequential art as instruction and as entertainment. This leads to a discussion of not only the graphic novel and technical instruction comics, but story boarding for commercials and films as well. (8) Teaching/Learning, Sequential Art for Comics in the Print and Computer Era lays out the range of diverse disciplines involved in comic books, laid out in a structured typology (categorized under psychology, physics, mechanics, design language and draftsmanship). Eisner also briefly shows what adding a computer to the process means for creating comic books.
There is an inevitable comparison to be drawn between Eisner's "Comics & Sequential Art" and Scott McCloud's "Understanding Comics: The Invisible Art," but I really see the two books as being complementary. Although you obviously can shift back and forth between perspectives, McCloud is looking at the medium from the reader's point of view and Eisner is more concerned with the creative process. Eisner has praised McCloud's book as "a landmark dissection and intellectual consideration of comics as a valid medium," which is a fundamental assumption of Eisner's work here. The primary value of "Comics & Sequential Art" is for professional and amateur artist, but students and teachers, and even mere comic book fans, can benefit from a serious and comprehensive examination of the art of funny books.
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am 30. Juli 2008
Heavily Illustrated Essays about How Comics and Sequential Art Communicate, July 29, 2008
By Donald Mitchell "a Practical Optimist" (Boston) - See all my reviews
My guess is that a hundred people have heard of this work for every one who has actually read it. At the time the book was developed, you could only find this information by taking Will Eisner's class at the New York School of Visual Art.

Unless you haven't been paying attention to comics, you will probably find that you already understand most of the key messages: words and illustrations combine to form imagery; time elapses between panels and the pacing of the time involved affects how you react to the story; the frames around the panels and pages as a mechanism for tying the story together; using anatomy and expression to extract emotion from readers; how to combine words and illustrations for best effect; the potential to use sequential art in more than comic strips and books; and new technologies for making comics and sequential art.

As for me, the only section that I found rewarding was the extensive middle section on panels. Maybe I'm obtuse (I probably am), but I've often found it difficult to follow and understand the choice of panel structure on pages in Golden age comics. Mr. Eisner thoughtfully provides extended sections from The Spirit to demonstrate why he made the choices he did and what he hoped to accomplish. It was like a Rosetta Stone for translating what some of those odd pages are supposed to do. For that section, it was worth reading the book. The other sections I could have skipped and not missed anything.

I also recommend you read Scott McCloud's books about comics and sequential art: They are more rewarding in terms of setting out the issues and opportunities.
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am 1. November 2003
Ich habe noch nie ein Sachbuch so interessiert gelesen wie "Comics & Sequential Art".
Der Auor, der seit den späten 30er Jahren im Comicgeschäft tätig ist, liefert eine einmalige Dokumentation der Funktion und Bedeutung von Comics, welche man nach dem Genuss dieser Lektüre wahrscheinlich etwas höher einschätzen wird als vorher. Will Eisner zeigt, dass Comics eine ernszunehmende und anspruchsvolle Kunstform sein können.
Gedacht für Künstler, Lehrer, Schüler oder auch einfach Interessierte - wie mich selbst - deckt das Buch viele Techniken ab, die zur Erstellung von Comics genutzt werden. Man behandelt die Wahl von Schrift und ihre Verbindung mit Bildern, die Nutzung von symbolhaften Elementen, Mittel für spannendes Timing, die Komposition und Auswahl von Rahmen und Szenen, den Gebrauch von Körperhaltung und Mimik, und das comicgerechte Schreiben von Geschichten. Auch macht Mr. Eisner einen kurzen Ausflug in die Drucktechniken für Comics und die Nutzungh von Computern zur Digitalisierung von Comics. Dabei erweist er sich als erstaunlich vorausschauend, bedenkt man das Erscheinungsdatum des Titels.
Der Autor verdeutlicht seine Gedanken durch viele Auszüge aus seinen eigenen Werken und weist den Leser genau darauf hin, was zu machen und was zu lassen ist.
Die Benutzung eines sehr anspruchsvollen Englisch bedeuted für den deutschsprachigen Leser mit durchschnittlichen Englischkenntnissen zwar wahrscheinlich den regelmäßigen Griff zum Wörterbuch, allerdings macht sie das Buch glaubwürdiger und qualifiziert es für eine anspruchsvollere Leserschaft.
Das Einzige, das mir missfallen hat, war, dass ich häufig das Gefühl hatte, dass das Buch von viel größerem Umfang hätte sein können oder sollen, da Will Eisner zu jedem Aspekt vermutlich noch etliche Seiten hätte schreiben können, ohne zu langweilen. So dachte ich öfters, dass manche Dinge nur äußerst oberflächlich angekratzt wurden.
Denen, die dieses Buch kaufen wollen, um Zeichnen oder Zeichentechniken zu lernen, sei gesagt, dass es nicht das Anliegen des Buches ist, diese zu unterrichten, und das dies demnach das falsche Buch dafür ist.
Ansonsten ein zu Recht hochgelobter Titel, der ein Pflichtkauf für alle diejenigen ist, die sich ernsthaft mit Comics, ihrem Verständnis und/oder ihrer Erstellung beschäftigen wollen.
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am 24. Februar 2005
Einer der populärsten US-Comic-Zeichner schreibt ein Buch über das Comic-Zeichnen und es wurde nicht ins Deutsche übersetzt???
Sehr schwach !!! Dieses Buch ist für englisch-unkundige nicht besonders leicht zu lesen, eine Übersetzung wäre SEHR wünschenswert. Lieber Verlag, bitte mal drüber nachdenken, danke.
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